Author: Robert Greenberger

Analysts gaze into a crystal ball and make educated guesses about how well a film will open. This week, they used a Power Battery instead and suggested that Warner Bros’ Green Lantern would open between $50-60 million. Box Office Mojo just released the numbers and they are estimated the Emerald Crusader brought in $52.7 million, placing it at the lower end of the spectrum.

For comparison purposes, a month earlier, Thor, one of Marvel’s ongoing series of films, opened with a god-like $65,723,338. GL’s modest numbers certainly have to be disappointing to both Warner and their DC Entertainment division. Mixed to negative reviews from the mainstream media no doubt blunted the film’s opening weekend so the better indicator of its changes will be next weekend when we gauge how much of a drop off there has been. This would be the “word of mouth” barometer and a chance for the fans to spread the gospel or take in a repeat showing.

No doubt 3-D fatigue is also a factor in the lower numbers despite being shown on approximately 2700 screens. That recent trend has shown that 3-D may actually be once more a fad and not a new form of entertainment. The jury remains out on this issue.

Coming in second was Super 8, the original thriller from J.J. Abrams. It took in $21.3 million for a two week total of $72.8 million.

In third place was the debut of Mr. Popper’s Penguins, adapted from the popular children’s book, starring Jim Carrey. It took in just $18.2 million demonstrating recognizable name value doesn’t always bring in audiences. It certain show how far Carey’s marquee value has dropped.

Speaking of Marvel, their X-Men: First Class nabbed an addition $11.5 million in its third weekend, totaling a pleasant $119.9 million, almost ensuring it a sequel order any minute now.

Warner no doubt is taking comfort in the wild success of The Hangover II, which earned an additional $9.6 million for a cumulative total of $232.7 million after four weeks.

The Ryan Reynolds action flick, directed by Martin Campbell, was made for an estimated $150 million with a nearly equal amount spent on marketing and promotion.  It was plagued with a weak debut trailer in November that meant a new plan needed be created. The spring buzz turned around after several minutes were shown at Wonder Con and a steady stream of new trailers helped reshape public opinion.

Box Office Mojo Editor Brandon Gray has written that any opening short of $70 million would make a sequel questionable despite Warners already asking for script treatments. Obviously, worldwide box office may turn the tide as an increasing percentage of a film’s performance is now coming from overseas markets.

One Ring. One Release. One Unforgettable Night.

Here’s the skinny: Warner Home Video is finally unleashing the extended versions of the Lord of the Rings Trilogy on Blu-ray this coming June 28. As part of the celebration, Warner Bros is hosting midnight screenings to remind you of just how cool these movies are. What follows is the formal press release. Our review of the handsome box set with its hours and hours of bonus material will be on hand next weekend.

Burbank, Calif., June 17, 2011 — On June 28, Warner Home Video will release all three of Peter Jackson’s visual masterpieces on Blu-ray in a 15-disc stunning collection entitled The Lord of the Rings™ The Motion Picture Trilogy: Extended Edition. To celebrate the occasion, Warner Home Video has announced a count-down to “Middle-earth Midnight Madness” celebratory event at Best Buy’s West Los Angeles location, 11301 W. Pico Blvd., where fans can join in the anticipation of the magic moment when they’ll finally be able to own the new extended edition trilogy on Blu-ray. (more…)

Star Wars Character Encyclopedia
By Simon Beecroft
208 pages, DK Publishing, $16.99

The Star Wars Universe spans thousands of years and multiple galaxies, telling the eternal story of good versus evil time and again. The saga has expanded to such a degree that you really cannot tell the players apart without a scorecard. For those who dislike clicking their way through a dizzying array of droids, Jedi and colorful aliens, there are now a series of guidebooks to help you. Last year there was DK Publishing’s The Star Wars: Clone Wars Character Encyclopedia or their Complete Visual Dictionary or even the incredibly useful Year by Year: A Visual Chronicle.

DK Publishing knows how to recycle information in all manner of sizes and shapes, synthesizing the data in new ways for its eager audience of readers of all ages. Editor Simon Beecroft has honed those skills as an author, having previously written Inside the Worlds of Star Wars: Attack of the Clones among other titles. He’s back with this breezy look at George Lucas’ sprawling universe in the Star Wars Character Encyclopedia.

Despite telling us the comic books, RPGs, and novels are part of the greater canon, this book only focused on characters from the six feature films and the CGI-animated Clone Wars television series. Also, given the trim size of 7.25” x 9.25”, DK’s designers had to rein in their normal frenetic design. While that can be seen as a plus, the smaller size also means the amount of detail provided for each character is little more than can be found on a trading card.

You read a page and know from repeated viewings of the movies that there are vital details missing. The Obi-Wan Kenobi page, for example, ignores his guidance and counsel provided to Luke Skywalker after his corporeal form was struck down by Darth Vader. Anakin Skywalker’s page ignores the term “midichlorian” and omits his transition to the dreaded Sith lord. Similarly, Vader’s page refers to him as being Luke’s dad but his given name is missing. I guess there’s only so much information you can give when you present each character with equal weight despite having much more to say about Luke, Leia, Han and Darth Vader than you have to a Hoth Rebel Trooper, a Rancor, Coleman Trebor, or a Colo Claw Fish. Popular players, such as Wedge Antilles, don’t even get a page but is crammed into a page about the X-Wing pilots. From what I can tell, the facts here are only what has been presented on screen, nothing new is provided.

Beecroft writes in a clear, alert style that is easily comprehensible for those only casually familiar with these people and does a nice job condensing things down to their basics. But Star Wars fandom tends to prefer depth and detail so may come away from this disappointed.

As a result, the book feels incredibly lightweight and incomplete so despite DK proclaiming this a must-have book for all ages, this is more a primer for younger readers less familiar with the mythos. If you want a true encyclopedia, DelRey’s more authoritative three-volume offering is for you.

One of the more enduring concepts introduced on Saturday morning television in 1967 was Hanna-Barbera’s Herculoids. Some of this has to do with its fabulous Alex Toth design work and much of it has to do with the unusual assortment of people and creatures that band together to fight for survival in a hostile environment.

The series debuted on September 9 and CBS aired 18 original episodes before it vanished on September 6, 1969. Thanks to the miracle of on-demand DVD manufacture, Warner Archive has released the complete series on two DVDs this week. The eleven new episodes created in 1981 remain to be rediscovered.

The series was the brainchild of Toth but episodes were directed by Bill Perez, Paul Sommer, Ken Spears, Joe Ruby, and David Scott.  Clearly Ruby and Spears were inspired by this because there’s a direct correlation between this and their Thundarr the Barbarian (also available from Warner Archive). The Herculoids do not live on a post-apocalyptic Earth, but instead reside on the distant world of Amzot (oddly, not named until the “The Molten Monsters of Moltar” episode of Space Ghost, guest starring the Herculoids; a rare crossover at the time). The team of fighters is led by the husband and wife duo of Zandor (Mike Road) and Tarra (Virginia Gregg), accompanied by their son Dorno (Ted Eccles) and “Zok the laser-ray dragon! Igoo the giant rock ape! Tundro the tremendous! Gloop and Gleep, the formless fearless wonders!”

While the menaces were stock form the H-B factory, the series gets credit for letting Tarra have intelligence and work on a par with Zandor, a rarity in its day. Despite all the high tech gear that turns up, and its attractiveness to alien invaders, it appears the inhabitants are disinterested in technological evolution, happy with their fairly primitive lifestyle. They are nomadic, going wherever they are needed, from their more familiar homeland to the mysterious Gravite Island.

These were clearly not human beings given their prodigious abilities. Zandor, for example, had the strength of two terrans and used a slingshot that fired energy rocks. He also has a shield that returns to him much as Thor’s uru hammer can.

Some of their opponents, like Mekkano or Sta-Lak, want revenge on Zandor for something that has happened in the past, which enriches their mythos without giving anything away. Then there are menaces such as the “Destroyer Ants” which are accidentally hatched and threaten all Amzot life. With breathlessness, each thirty minute episode featured two stories so there are really 36 adventures in these two discs. The transfers are pretty good, although far from perfect. Hey are more than serviceable for those of us yearning to relive those carefree Saturday mornings when we weren’t bombarded with public service themes or teachable moments (beyond good wins out in the end).

Given the unrest across Africa today, it’s easy to forget that there was similar troubles as country after country gained their independence from colonization in the 1950s and 1960s. The Congo crisis, in particular, lasted from 1960-66 as it struggled to establish itself after Belgian rule. Over 100,000 people died during the ordeal and it inspired a 1965 novel, [[[The Dark of the Sun]]], by Wilbur Smith.

The novel, rather than the actual events, led to the 1968 MGM film adaptation which is finally available on DVD from Warner Archive. The film has been a favorite of directors including Martin Scorsese and Quentin Tarantino who lifted some of the score, and its lead Rod Taylor, for use in last year’s [[[Inglorious Basterds]]].

Taylor plays mercenary Bruce Curry who is hired by the iron-fisted president Ubi (Calvin Lockhart) to retrieve $50 million in diamonds from the northern country. Accompanied by his Congolese friend Ruffo (Jim Brown), Curry extracts a fat pay day and agrees to rescue the “unfortunate Europeans” stuck in a town about to be assaulted by the rebel Simbas. Curry and Ruffo are longtime allies and their equal partnership is a rarity in its day and about the only good thing to come from the flat script by Ranald MacDougall (as Quentin Werty) and Adrien Spies.

In the hands of the acclaimed cinematographer turned director Jack Cardiff, the movie has a roughhewn feel, matching the African land (although it was shot in Jamaica). Unfortunately, the script and performances don’t live up to the potential. Curry is a dull hero and every obstacle in his path feels perfunctory. There are complications from the former Nazi Henlein (Peter Carsten) who wants the diamonds for himself and chafes under Curry’s orders, a safe on a timer, UN peacekeeper fire, and reluctant-to-flee nuns.

Even Jacques Loussier’s score feels familiar. One of the first acts Curry performs is rescuing Claire (Yvette Mimieux) from her burned out home, but then there’s nothing for her to do but look pretty and concerned for the rest of the film. There’s also the alcoholic Doctor Wreid (Kenneth More) who gets his one moment to shine and that’s it.

The best moments, although they feel forced watching it today, as the conversations about race and life between Curry and Ruffo about midway through the movie before the action ignites and remains a relentless presence until the end credits. Much was made of the violence when the film was released because such brutality had rarely been seen on the screen at the time. Beyond the usual shoot ‘em up stuff, the Simbas invade the town, raping and pillaging with wild abandon. It’s perhaps the truest depiction of what must have happened across the land and continues to this day.

The 101 minutes plod along until we get a fairly predictable ending.  The transfer holds up and film students will probably enjoy studying this. The rest of you have to be truly interested in the subject matter or cast to bother sitting through this.

It takes a lot to make a noticeably different vampire film these days. The genre has been seemingly mined to death through the inanity that is the Twilight series to the more visceral thrills offered in the HBO adaptation of Charlaine Harris’ work in True Blood. Maybe that’s why it fell to a foreigner to offer us something messy but thought-provoking. Director Dennis Gansel conceived of his story, We are the Night back in 1996 and let is gestate in his mind before finding willing financial backers. Apparently, vamps don’t inspire moneymen in Germany so when the film failed to launch in 2006, Gansel went off to direct his acclaimed film, The Wave, and that finally got him his money.

The director says his inspiration came from the 1872 novel Carmilla by Joseph Sheridan Le Fanu and it shows. Louise (Nina Hoss) has been seeking the reincarnation of her one true love, thinking she has found her time and again in attractive young women she converts into vampire lovers. Spotting the punk-styled thief Lena (Karoline Herfurth) at a throbbing nightclub, Louise doesn’t hesitate to bring her over to the dark side and only then begins the seduction, which backfires when Lena rebuffs her advances. Louise gives in to her needs rather than slowly explain things to the terrified young woman.

As a result, we get some sense that the male vampires have been killed off by the women and that very few vampires remain active in the modern world. Louise, therefore, fronts a trio of vamps, the other two being women she incorrectly thought had been the reincarnation she sought. There’s the lustful Nora (Anna Fischer) and the smoldering Charlotte (Jennifer Ulrich) and the three have reveled in being vampires, giving in to their temptations without a second thought. They eat, dance, drink, fornicate, and drive real fast, sexy cars. All the while, Louise works on Lena, who rebuffs her attempts without a real sense of why.

Meantime, Lena has encountered a cute cop, Tom (Max Riemelt), just before her transformation and he is the only one she thinks she can turn to when it’s clear this is not a lifestyle she wants forever. Tom, though, is investigating cases that bring their worlds onto a collision course.

Shot in and around Berlin, the film is dark and gritty when it’s not being slick and seductive. The dialogue is sparse which is a shame since more character development would have been appreciated. There are some story logic flaws mixed in with some terrific character bits. Gansel can certainly evoke mood, creating an erotic vampire thriller without nudity or copious amounts of blood and gore.

This should be Louise and Lena’s story but instead, the emotional core of being a vampire is stolen by Charlotte, the one-time silent film star, who has the most emotionally powerful scene in the film.

As vampire films go, this one is way above average but far from perfect. It’s currently playing the festival circuit in America and IFC films has already made it available as a digital download. A DVD will be released later this year and it’s certainly worth a look.